Few subjects have afforded more opportunities for archaeological controversy than the western pediment of the Parthenon; and of this possibly the most uncertain, as well as the most important part is the centre group, of whose meaning very many and very different explanations have been given. This controversy received a fresh start from the discovery, in 1872, of a vase which has represented upon it, partly in relief, partly in painting, a design which evidently bears a more or less close relation to the pediment itself. The vase, a hydria, was found in a grave at Kertsch, and it was published, with a long and learned discussion of its bearing and importance, by M. Stephani. It will perhaps be as well here to give a brief account of its composition. In the centre is an olive-tree, on the left of which is Athene, on the right, Poseidon. Amidst the branches of the tree is Nike, who floats towards Athene, so indicating the issue of the contest, and round its trunk is coiled a snake, which raises its head as if against Poseidon. This god stands half advanced upon his right foot. In his right hand he raises the trident, the points of which are just above the head of the snake; with his left he holds the bridle of a horse, which stands beside him. Between his legs is one dolphin, and another is a little beyond his left foot. Athene on her side has raised her spear, but its point, like that of Poseidon's trident, is directed downwards. On her left arm is her shield, the outer edge of which is close to the trunk of the tree. Behind her advances Dionysus, accompanied by his panther; he stretches out his thyrsus in front of her, towards the olive-tree. Behind him, on a higher level, is a female figure, nude to the waist, who is half reclining upon the ground. On the right, behind Poseidon and his horse, is a female figure, in long flowing drapery, flying from the centre of the composition. Beyond her there is a rock, upon which is seated a bearded man of kingly appearance with a long sceptre resting against his shoulder; he has his back to the centre group, towards which, however, he turns round his head. Above him is a small temple, on a higher level. Of these figures only those which form part of the central group are represented in relief as well as in colour. In the case of the others only small portions, such as the thyrsus or the sceptre, and especially gold bosses or ornaments, are raised, the rest of these figures being painted as on ordinary Greek vases.